Wednesday, 26 December 2012

Il
Cerchio d’Oro are an Italian prog band from Savona, formed during
the seventies, when they released some singles but had not the chance
to release a full length album. The band reunited in 2006 with a
line-up featuring veterans Franco Piccolini (piano, organ, keyboards,
backing vocals), Gino Terribile (drums, percussion, vocals), Giuseppe
Terribile (bass, acoustic guitar, vocals), Piuccio Pradal (acoustic
guitar, vocals) and Roberto Giordana (electric guitar, backing
vocals).

In 2008 they released what should be considered their real
debut album for the independent label Black Widow. It’s a concept
album inspired by the character of Cristopher Columbus, where the
aim of the music and lyrics is to tell the story of a difficult
journey full of hopes, deceptions, disappointments and fears that is
also a metaphor of life where often the goal is just a new starting
point for another journey. The overall sound of Il Cerchio d’Oro is
clearly inspired by bands as Le Orme, Banco del Mutuo Soccorso and I
New Trolls (especially in the vocal parts), but the result is very
good and the song-writing is not too derivative.

The
dreamy instrumental opener “Ouverture” sets the musical
atmosphere and leads to the beautiful, melancholic “Sognando la
meta” (Dreaming the goal). The contrast between the electric guitar
and organ underlines doubts and fears before an uncertain impending
future. After many efforts Columbus is going to set off and dreams of
his goal... “Now I know, I’ll make it / I must believe in the
dream / I’m alone in the night, a thought startles me / I already
see only one image in my mind / And the goal is nearer...”.

On
“Colombo” (Columbus) the rhythm takes off. In Italian Colombo
means pigeon and it’s ironic that a sailor has the same name as a
bird. Columbus reflects on this fact and would like to be able to
fly... “What an envy for the wings of the seagulls / That can
exploit every wind... Sometimes during the night I dream my ships /
With great wings instead of cannons / Sailing over unknown lands like
kites...”.

“I
tre marinai” (The three sailors) begins with the sound of the waves
and of an acoustic guitar, then the vocals soar. It’s a reflective,
melancholic ballad. Three sailors talk about the reasons that pushed
them to embark on this dangerous journey. The first was without money
and without women and now has nothing to lose, the second lost his
wife and children and now tries to forget his troubles while for the
third the most important thing in life is drinking wine in good
company... “Let’s keep on imagining that life can change / But
let’s not get our hopes up / The viceroy will make no gifts...”.

“Ieri,
oggi, ancora niente” (Yesterday, tomorrow, nothing yet) is a
complex track featuring an intro with the vocals a cappella and many
changes in rhythm and mood. After one month of sailing no land on the
horizon yet. Hopes, disappointments, illusions and disillusions turn
the mood up and down...

“Il
silenzio rumoroso del mare” (The noisy silence of the sea) is tense
and haunting. It’s a complex track where the music storms and
suddenly calms down, broken by short, delicate melodic passages
before taking off again... “I spend all my nights looking through
the stars / Listening to the creaking of my ships... I’m losing my
excitement and I’m beginning to despair... I feel that there’s
nobody on board that I can trust / It’s more and more difficult to
hope in the noisy silence of the sea...”.

“Preghiera
al vento” (Prayer to the wind) is a short, simple acoustic track
that recalls Lucio Battisti, especially the vocals. It’s a kind of
pagan invocation to the wind... “Oh wind! At least you, stay by my
side...”.

“Tre
giorni (L’ammutinamento)” (Three days – The mutiny) starts in
an aggressive way, with the electric guitar and rhythm section in the
forefront, then the fury stops giving way to a more reflective
part... The rage of the crew grows but the captain manages to restore
calm by promising that if they do not find land in three days they
will turn back... “I have promised them three days and they have
agreed / Now it’s my time, time of bets...”.

“Tierra!
Tierra!” (Land! Land!) is a desperate ride on the wings of hope
while time is running short. After a fiery beginning rhythm slows
down, time stands still... Suddenly enthusiastic shouts rise and land
appears on the horizon... “Land! Land! Treasure lightened by the
stars / A thrill passes through my skin / The same thrill that makes
the sailors shout / Land! Land! My God, forgive me if I doubted /
Thanks for this joy you gave me / I know you are right and you never
deceive me...”.

“Cercando
l’approdo” (Looking for a landing point) is a beautiful
instrumental. The tension melts and a calm melody veils the horizon
leading to a happy end... On “Conclusione (Il ritorno)”
(Conclusion – The return) joyful acoustic guitar chords and relaxed
melodic vocals greet the return and the end of the journey. But
Columbus is not aware of the importance of his discovery and of its
consequences... “The whole world is going to change now / New
horizons for the humankind...”.

The
album features also two nice bonus tracks, the two sides of a 1977
single, “Quattro mura” (Four walls) and “Futuro prossimo”
(Near future). It’s strange but these songs do not sound at all old
and they fit the mood and the atmosphere of this work perfectly...
“Your colour is beautiful / It recalls the sea of lost times / I
don’t care if you don’t like me / I can’t die hoping to come to
life again and be better than now...”.

Il Cerchio d'Oro: Il viaggio di Colombo (2008). Other opinions:
Raffaella Benvenuto-Berry: Even if not exactly an innovative proposition, “Il Viaggio Di Colombo”
comes across as a mature, well-structured album that manages to capture
the listener’s attention through its skilful use of melody and
painstaking build-up of emotions... This is essential listening for
all lovers of vintage Italian prog, and a worthwhile purchase for
progressive rock fans in general... (read the complete review HERE).

Friday, 21 December 2012

Il Rovescio della Medaglia were one of the many bands of the Italian prog scene of the early seventies. They were from Rome and after two albums in hard rock style, “La bibbia” and “Io come io”, in 1973 they collaborated with composer Luis Enriquez Bacalov and lyricist Sergio Bardotti for a third album in a more symphonic style. The result was a very particular concept album blending classical music and rock entitled “Contaminazione di alcune idee di certi preludi e fughe del Clavicembalo ben temperato di J.S. Bach” (Blend of some ideas from some preludes and fugues from the well-tempered clavier by J.S. Bach). The line-up on this album features Enzo Vita (guitars), Stefano Urso (bass), Gino Campoli (drums), Pino Ballarini (vocals, flute) and Franco di Sabbatini (keyboards) while in studio the band interacted with a baroque orchestra directed by the Maestro Luis Enriquez Bacalov himself with excellent results.

Il Rovescio della Medaglia 1971

The album tells the story of an imaginary character, a Scottish guitarist called Jim McCluskin who, back from a journey in Nepal, believes he is the “avatar” (the incarnation) of another imaginary character, a Scottish musician called Isaia Somerset, supposedly an illegitimate son of Johann Sebastian Bach who abandoned him during his stay in Britain. The guitarist is hospitalized in a psychiatric structure where he is haunted by his crazy musical dreams. The plot is ironic, all the tracks are linked together and the music flows continuously drawing a kind of well crafted “divertissement”.

Enzo Vita in the seventies

The opener, “Absent For This Consumed World” is a short instrumental introduction that leads with a drum roll to the ethereal, melancholic “Ora non ricordo più” (Now I can’t remember). “Now I can’t remember what kind of music I used to play / I saw white and I fell over / It’s the image of an image... I run after my music / My music is running forward, away from me / As dark never touches light / Where time comes to life and immediately dies / She is there and she’s waiting for me / She is calling me...”.

Next comes “Il suono del silenzio” (The sound of silence). Don’t worry, it’s not a cover of Simon & Garfunkel but an experimental track where classical passages of harpsichord, organ and violin are mixed with a vibrant, pulsating rhythm section. In the mind of the protagonist a question arises... “Maybe, am I the son of Bach?”.

“Mi sono svegliato e... Ho chiuso gli occhi” (I woke up and... I shut my eyes) tells of a sad awakening... “Why am I here? Why did they shut me here? Because for them I’m like a strange child...”. From a lullaby a desperate electric guitar solo in Jimi Hendrix style takes off... The protagonist wants to go back to the world of dreams... “I woke up this morning and... / I shut my eyes...”. Well, dreams can definitely be better than reality...

The short, frenzied “Lei sei tu: lei” (She is you: she) depicts a troubled dream where the music becomes a beautiful woman inviting the protagonist to follow her in another world where she is waiting. Next comes “La mia musica” (My music), a sweet, romantic love song dedicated to the charming woman that incarnates music... “She is there... And in the light of thought even the faintest souvenir becomes clear / I run after her when she runs away / To have her one more time... Sing on the roof / And I’ll call you swallow / Sing on the bank / And I’ll call you sea / I can hear thousands of voices / They sing the secrets hidden in the soul / They sing the thoughts of a free spirit / It’s for me that they are singing / It’s for you... Now she is here / Now she is mine...”.

The mad rock guitarist now believes he is Isaia Somerset, the illegitimate son of Bach and on “Johann” the contamination of styles is perfect. The interaction between rock band and baroque orchestra is absolutely brilliant... “Johann Sebastian Bach had twenty-one children / He loved twenty of them / But one was abandoned in Scotland...”.

“Scotland Machine” blends classical music and rock with Celtic echoes... When the protagonist awakes he’s driven into cell number 503 that now is free and all for him... “Cella 503” (Cell 503) is an instrumental where we find a particular Spanish flavour mixed with baroque music, then a rock part precedes a closing section featuring a powerful organ solo. Then comes “Contaminazione 1760”, another short instrumental featuring only flutes.

“Alzo un muro elettrico” is one of the best tracks on this work, where you can find tasteful reminiscences of Brazil... “I build an electric wall / A sky of organs is opening / She is there / Now I’m again myself...”. “Sweet Suite” begins with a church-like organ, then a short reprise of “Alzo un muro elettrico” follows... “Now I’m again myself!”. The fiery, passionate instrumental “La grande fuga” (The great fugue) is a perfect “gran finale” for this amazing album.

An English version of this album was also released for the international market, but I prefer the Italian one. A must have for every prog lover!

Thursday, 20 December 2012

﻿“Neo”, the second studio album by La Torre
dell’Alchimista, was released in 2007, six years after their beautiful
debut eponymous work. The line-up is slightly changed and now it
features Michele Mutti (keyboards), Michele Giardino (vocals), Davide
Donadoni (bass) and Michelangelo Donadini (drums, percussion). During
the recording sessions they were helped by some guest musicians that
enriched the sound of the band providing guitars, sax, violin and flute
and the result is really good. La Torre
dell’Alchimista sound is definitely “keyboard driven” (Michele Mutti
plays acoustic and electric piano, Hammond C3, Minimoog, organ, synth
and Mellotron) and blends strong classical influences with prog-rock and
Italian melody. Good also the art cover (painted by Michele Mutti) and
the booklet containing some particular pictures and the lyrics. This
work could recall bands as Le Orme, PFM and BMS but it’s not too
derivative and it’s really worth listening to. “Neo” is conceived as a
concept album describing the end of a love story in an original way,
through a continuous parallelism between personal feelings and the
images taken from ancient myths. The lyrics are not banal and it would
be very unfair to define this work as just dealing with Greek
mythology...

The
opener “Dissimmetrie” (Asymmetry) condemns conformism and hypocrisy.
Jumping keyboards and sax play joyfully around while the lyrics compare
people who do not dare to fight for a change in their everyday life to
the Golem, an artificial monster with the form of a man created from
clay by magic charms or sacred words, an image taken from Jewish
folklore. “You are like a shapeless drop of water / You are evanescent /
Invisible fade-out / You don’t leave traces of yourself... You are just
souls of clay / Who fly away without dignity / You are just souls of
clay / Who live in hypocrisy... I look at you and I can see / The
curtain of noise / That shelters you / From the external world / Sounds
of plastic / Words and shouts...”. If you disregard the opinion of the
hypocrites and their false smiles, you can dare and fall in love with a
beautiful and dangerous woman... And find trouble!

The
dreamy outro of the first track leads to “Medusa”, a complex piece in
four parts (Faith, Fugue, Chorale, Samba V) that was inspired by the
mythical character of an unfortunate woman raped by Neptune in Athena’s
temple. After the rape, Medusa’s long hair was turned into snakes by the
goddess and she was given the power to turn anyone who dared to look
directly at her into stone. According to the myth, the head of Medusa
was cut off by Perseus who looked at her through a mirror-like shield.
Once cut off, the head maintained its power and was at last placed at
the centre of Athena’s Aegis as a symbol of her power. The music
perfectly fits the lyrics with well balanced changes in moods and
rhythms that blend prog rock, classical music and melodic vocals...
“You, who confound my thoughts / On the shield of knowledge / Reflected
image, You don’t scare me / You, who confound my thoughts / You turn
into stone the stupidity / Of the people who stare at you / The men who
lived with you are stones now / The heart that loved you beats no
more... I won’t follow you, I’m free now...”. Well, a complex, dangerous
and charming woman indeed! One who can drive you crazy dancing samba
and who could be very difficult to forget...

“Idra”
(Hydra) is a short instrumental interlude for piano solo that leads you
to the first part of the long, complex “Risveglio, Procreazione e
Dubbio” (Awakening, Procreation and Doubt) where, after an amazing
instrumental prelude, nice melodic vocals come in to change atmosphere.
The lyrics depict some experiments to overcome the split-up where you
can find shadows and wasted days fading out until your arms will fall
and wings will take their place to let you fly on the horizon just
before falling back with your doubts... “So I feel like the father of an
unknown son, scared by these signs / If the giant rides the dwarf / How
can his arms carry that weight?... Idra, Cerbero and Medusa were born
from waking-hours not from sleep / And they devour the remnants of my
greatness... And suddenly, I lose myself...”.

“L'Amore
Diverso” (The Different Love) is another short instrumental for piano
solo that leads to “Cerbero” (Cerberus), an intricate track in three
parts (Promenade, The Three Heads, The War Against Hydrogenous). The
sound of a piano leads you softly to the gates of madness... Cerberus is
the name of the three-headed monster hound guarding the entrance to the
Greek Underworld. No-one can enter or leave without getting past him...
“Six eyes, six shouts, you are everywhere I turn my eyes / Six times
you promise, but seven times you disappoint / You are blood, you are
tears but no sweat!...”. The music is haunting, swinging from frenzied
keyboard rides to calm, romantic violin melodies... Well, the nightmares
that rise when a love story comes to an end can really haunt you like
omnipresent ghosts. Trying to fight them could bring dangerous
side-effects and for your soul it could be destructive as an atomic
war... “It’s my rage, it’s your craziness / To win, to lose, what’s
really important? / A hot wind blows now / My breath is dying / My way
to think about the future is dying...”.

La Torre dell'Alchimista live in Trieste 2008

The
last track “Risveglio, Procreazione E Dubbio Pt. II” is another
beautiful complex piece in three parts (Epilogue, Coda, Farewell) where
you can find a nice flute passage and even some echoes coming from “the
court of the Crimson King”. The lyrics deal with the awareness of past
errors and the condemnation of arrogance, haughtiness and pride... “Time
that has joined us is already splitting us / But how slowly moves the
time of the split-up! / Like a leaf in the wind / You are going away
from here / Leaving my body naked / The image of your diversity remains /
You are like a wave, you slowly wear out / You used to confound my
thoughts / Now you’re going away / Leaving a void and a closed
speech...”. A beautiful farewell for an excellent album!

Wednesday, 19 December 2012

Colster
come from Bra, in the province of Cuneo, and began life as a duo on
the initiative of Livio Cravero (guitars, bass, synthesizers) and
Francesco Previotto (drums, percussion). Their influences range from
Pink Floyd and psychedelia to progressive rock and jazz but they
always try to be as much original as possible mixing music with their
personal experiences without schemes or barriers. Colster's first
eponymous album was recorded between 2008 and 2009 and finally
released on the independent label Ma.Ra.Cash Records in 2010. It's a
completely instrumental album but in some way every track is linked
to images or memories that the musicians tried to explain in the
liner notes and with the help of some pictures that you can find in
the booklet.

The
opener “Searching Absolution fase 1” starts with a frenzied
rhythm and tense guitar riffs. Some passages reminds me of Goblin and
the music could be the perfect score for a thriller or a horror film
by Dario Argento. According to the liner notes this piece tries to
describe an ideal quest for purification, you have to forget past
errors and search for an absolution to give a new sense to your life.

“The
First Wail” is more in psychedelic vein. The music takes you off on
a kind of cosmic trip and you can even breathe the atmosphere of the
dark side of the moon, but beware! The way is full of surprises. Next
comes “Everyday Life” which describes the hectic rhythm of every
day life, a rhythm that makes you forget what is really important. At
the beginning there's a hard, pulsing beat, then the storm calms down
and you get lost in your reflections.

The
following track “Island Asylum” describes an ephemeral, sensual
refuge from the daily grind. The atmosphere is more relaxed here, you
can dream and find new energies. The short “Mind Rejection” is
darker and marks the moment when you have to leave your shelter. With
“Searching Absolution fase 2 and fase 3” you're back on your
cathartic quest but the way is difficult, a long drum solo evokes
wild rides in the dark and uncertain paces, then an ethereal, dreamy
atmosphere brings new hope and you can go on.

On
“Melancholy” some memories emerge from the past, surrounded by
emptiness. This track features a heartfelt electric guitar solo and
an ethereal atmosphere. It leads to the conclusive “See Through The
Tears”, where you can contemplate the world through a veil of
tears. Your sight is not clear now while the music conjures up
surreal visions and blurred landscapes. The quest comes to an end and
probably you couldn't find the absolution you were looking for.
Anyway, even if you can't give a new sense to your life I'm pretty
sure you will not regret the time spent listening to this album. At
the moment the band is already working on a new album with two new
members in the line up and I'm looking forward to listen to it.

Colster:
Colster (2010). Other opinions:

Jim Russell: Colster succeeds at what I believe are one of their intentions, creating a sort of soundtrack for
the thoughts and images of the listener, music that moves with you as you live. And yet it is
important to reiterate that their succinct style is a strength. They improvise and dream musically
of course, they take you places, but they keep the pieces reasonably brief and well paced,
stretching the length out only as necessary. There is no overindulgence here where you are tortured
by 16 minutes of feedback over breaking glass and barking dogs. Colster brings a lighter edge to
psych/space and are capable of crossover should they choose to go there... (read the complete review HERE).

Tuesday, 18 December 2012

Il Bacio della Medusa come from Perugia
and were formed in 2002 by Simone Cecchini (vocals, 6 & 12
acoustic guitar, mandolin, charango), Federico Caprai (bass) and Diego
Petrini (drums, organ, keyboards, piano, vibraphone, percussion). Later the line up was completed by Simone Brozzetti (guitar) and Eva Morelli (flute) and in 2004 was released an eponymous debut album. “Discesa agl’inferi d’un
giovane amante”, Il Bacio della Medusa's second album was recorded between 2005 and 2006 but it
wasn’t released until 2008. On this album, the line-up features a new member, Daniele Rinchi
(viola, violin) who joined the band in 2005 giving his contribution to
the evolution of the band’s sound and song-writing, now more balanced,
rich and “classically” oriented. Then, the deal with the independent
label Black Widow Records gave the band the chance to work in
tranquillity and the result is an excellent mix of classical influences
and rock that perfectly fits the dark, poetical lyrics. Beautiful also
the art cover painted, as in the eponymous debut, by one of the members
of the band, Federico Caprai, who tries to describe in images and
colours the mood of this work...

“Discesa
agl’inferi d’un giovane amante” (Descent to Hell of a young lover) is a
concept album and the music flows away in a long suite for almost an
hour without breaks with sudden changes in rhythm and atmosphere... It
was inspired by the story of Paolo and Francesca, two clandestine lovers
that were caught red handed and stabbed to death by Francesca’s husband
(and Paolo’s brother) Gianciotto. The two characters were portrayed by
the poet Dante Alighieri
in his “Divina Commedia” but Dante’s poetry is only the starting point
from where the band develops a very original musical and poetical
journey...

The
opener “Preludio: il trapasso” (Prelude: passing away) describes in
music and words the moment when Paolo’s soul leaves his mortal body and
begins the journey towards hell... “Look at my body / It lies bloodless
on the ground... Heavy boats sail towards hell / The air is burning upon
me / In the silence I’m looking for you...”. Delicate and expressive
piano, flute and violin passages are the ideal background for Simone
Cecchini’s passionate vocals evoking a love stronger than death and that
sound even more dramatic in the following “Confessione d’un amante”
(Confession of a lover). “In the crowd we’re looking for each other /
But the dark is between us... Francesca I love you for this eternity /
At length the light will come even into this dark caves / Let the
trumpets blare / The beast is snarling upon us...”.

The
instrumental “La bestia ed il delirio” (The beast and the delirium)
marks a change of mood, the rhythm rises and there is room for fiery
organ solos, heavy guitar riffs and “infernal dances” led by violin and
flute... Then a marching beat introduces “Recitativo: è nel buio che
risplendono le stelle” (Recitative: it’s in the dark that stars shine)
where the voice of Simone Cecchini describes an infernal landscape with
bent trees dripping blood... “The scream of the man now lies defeated on
the ground / All I can do is gather my shadow / Like an old worn,
smelly coat fallen down behind me... Oblivion is the cancer of
knowledge... It’s in the dark that lies the magic of every light / It’s
in the dark that stars shine...”.

In “Ricordi del supplizio” (Memories of the torment) a flute “à la Jethro Tull”
and a mellow rock sound underline the expression of rage against the
murderer... “I remember the violence of my death / His breath upon my
neck...”. Then “Nostalgia, pentimento e rabbia” (Nostalgia, repentance
and rage) leads to the instrumental “Sudorazione a freddo sotto il
chiaro di luna”, where “the blood runs cold under the moonlight...”.

In
Melancolia (Melancholy) a soaring feeling of nostalgia comes on the
wings of beautiful notes of flute veined by exotic echoes... “Once I
caught a prohibited apple / A bite couldn’t assuage my hunger / I drank
from a springing wine source / A sip couldn’t assuage my thirst... Why
on earth when I thought to love / A day like another the blade of a
dagger / Led me back into the ground...”.

The
last tracks are almost completely instrumental and, in a crescendo of
emotions, lead to an amazing, dramatic finale for this journey towards
hell of a young lover, carried away by the hot wind that benumbs his
limbs... “E fu allora che dalle fiamme mi sorprese una calda
brezza celeste”, “Nosce te ipsum: la bestia ringhia in noi”, “Corale per
messa da requiem” and “Epilogo: conclusione della discesa agl’inferi
d’un giovane amante” are the perfect conclusion for a flawless album.

Jim Russell: If
you love hard '70s rock and/or classic period Italian progressive this
album is an absolute sure thing. Fantastic. My only worry is that I
can't imagine how they're going to top themselves next time. This is
music without cynicism-birthed purely with sincere motivations of
pleasing the music lover. When I recognize that certain authenticity in a
band it always makes it special to me. And now I undertake the mission
of spreading the word about this deserving band. I'll be picking up more
copies of this CD as gifts for rock loving friends... (read the complete review HERE)

Paul Fowler: I'm
certainly glad to have discovered this excellent Italian band and the
album is currently receiving well deserved heavy playing on my cd player
and almost certain to make my top ten of 2008. One to lay back, turn
out the lights and get lost in... (read the complete review HERE)

Minstrel's debut album, “Faust”, in my opinion is a very interesting work but for the band it
was very difficult to perform it on stage on account of the many
characters and voices. So, after its release, the
band started to work on a new opera but this time they decided to
conceive it as a kind of monologue with the voice of the protagonist
backed only by a choir. The new album, “Ahab”, was inspired by Herman Melville’s novel Moby-Dick and was released in 2009 with a line up featuring Mauro
Ghilardini (lead and backing vocals, piano, keyboards), Michele
Savoldelli (electric and acoustic guitars), Gianpaolo Pasini (drums) and
Alberto Bigoni (bass). The overall sound here is sharper than on the
previous album but the final result perfectly fits the storyline and
Mauro Ghilardini’s operatic vocals are magnificent.

The
opener “Vendetta” (Revenge) is full of dark energy. You can imagine the
protagonist, Captain Ahab, pursuing his white obsession crossing a
ghastly sea. He looks for revenge, he wants to kill the white whale that
injured and humiliated him. He can’t give up his crazy dream... “Oh, My
God, you know”! / I feel in my limbs blood, sweat, and tears / They
devour my bones bent by memories...”.

The
short instrumental “Presagio” (Omen) lead us to the departure of a
wild, cursed hunt across the sea... On “Partenza” (Departure) we can
hear the captain shouting his orders... “Hey!
Raise the anchor! / The wind will see us off! / Starbuck at the helm!/
Ishmael on the pontoon! You, on the lookout! And you, up there... And
you, to the topmast! Go! Forward! Hey! Raise the anchor!”. Wind and
sunlight now swell the sails and the land rapidly vanishes behind the
ship while the call of the see resounds in the air. The adventure begins
with a frenzied rhythm and a dark feeling...

“Oceano”
(Ocean) is a long, complex instrumental track that describes the ship
sailing across the sea. It begins calmly and the mood is dreamy, then
the dream turns into a nightmare and aggressive electric guitar riffs
announce a storm and a troubled night.

“Alba”
(Dawn) is dreamy and melodic. As dawn breaks and the light shines
through the clouds the voice of Mauro Ghilardini delicately soars from a
calm piano pattern drawing hopes and doubts. Memories flows inside the
protagonist as a river that looks for the sun. Then he makes a vow... “I
will sail forever pursuing this dream / As long as I have strength and
breath / I won’t forget this promise / And I’ll win this wager / And
I’ll seek the knowledge / Until I’ll understand the true meaning of
life...”.

On
“Caccia” (Hunt) the rhythm rises again. It’s a piece full of energy
that describes the ups and downs of an endless, cursed ride across the
ocean looking for the white whale... “Go on, never stop! Go on and on,
you’ll never lose your prey...Vile is the harpooner and vile is the
captain if the blood of his prey doesn’t stain his hand!... My hand, you
can’t fail / Take hold of the gleaming steel and strike... / Fury of
the seas, listen to me / The time of revenge has come... Cruel fate, you
turn us away from our course! But who seeks justice finds glory and
renown...”.

“Rampone”
(Harpoon) describes the inner conflict that is raging in the heart of
the captain. The music is evocative and dark. Melodic passages
alternates with fiery guitar riffs and “deep reed” colours. You can hear
an infernal smith forging a magic, evil harpoon... “Forge the point in
pagan blood / I want a harpoon in mortal temper / Baptismal blood, save
the baleful iron that marks every inch of me...Wind,
renew my thoughts of violence! Rain, refresh my warrior instinct!...
Following my mind, my fatal vow / I shall die, but I’ll be free...”.

“Tempesta”
(Storm) is an evocative instrumental track featuring a sparkling
electric guitar work that leads to “Delirio” (Madness), a monologue with
narrative vocals and an orchestral background that describes the
madness of the captain and the horror feelings he experiences when he
looks at himself in a mirror. Eventually he comes back to consciousness
for the tragic grand finale.

The
last track “Morte” (Death) is a long, complex epic. It begins with a
heartfelt recitative part where the voice of Mauro Ghilardini is backed
and counter-pointed by the powerful rhythm section. Wave after wave,
memory after memory the captain realizes that his hunt for knowledge is
useless and that the unknown is still an enigma for him, “a past
overflowing with mystery that returns like a wave on the shores of the
present, thence surrounded like valiant, naive men by the dark sky of
hope that wraps bodies like a clean shroud...”. Ahab begins to feel
guilty and his words sound like a lay prayer to Mother-Nature but it’s
too late!

Now
the music describes the fighting between the men and the white
monster... Then the struggle gives way to a calmer part and melodic,
operatic vocals soar... This time there’s nothing more to say, there’s
nothing but the sea, no harbour on the horizon, no time left to regret,
no goal to reach... “It’s an everlasting trial... / An inner battle to
discover / A doubt to abandon / A new faith to set off towards oceans of
light / Immense but fragile expectations...”. The captain’s obsession
leads him and his crew to perdition and death. When the sounds of the
battle fade away we can hear a child playing and singing as a final
message of hope. A dreamy, instrumental coda concludes this excellent
work. On the whole a really good album featuring a beautiful packaging
and a booklet full of drawing and images related to the plot. Do not
miss it!

Minstrel: Ahab (2009). Other opinions:

Thomas Szirmay: Minstrel
waited for 10 years before releasing their sophomore follow-up to the
fabulous "Faust", an absolute shiny icon in my prog collection. That can
be a ridiculous interval but so many prog musicians have day jobs and
family obligations that one can only patiently wait, even though I must
admit I was fearful of another one-shot wonder. Their lusty combination
of operatic vocals, driving rhythm section and scorching guitar is a
formula to die for, and it is maintained on Ahab in spades (and clubs
and diamonds and hearts!)... (read the complete review HERE)

In
2011 Pandora released their sophomore work on AMS/BTF, “Sempre e ovunque
oltre il sogno” (Always and everywhere beyond the dream), with the same line
up of their debut album featuring Beppe Colombo
(synth, organ, backing vocals), Claudio Colombo (drums, percussion,
bass, acoustic guitar, synth), Corrado Grappeggia (vocals, synth, organ,
piano) and Christian Dimasi (electric guitar, backing vocals). The
overall sound of this second work is mellow and symphonic and every
track is described in the booklet with a painting by the American artist
Emoni Viruet
(who now is Claudio Colombo’s wife), almost a ghost member of the band.
She is also the author of the art cover while Beppe Colombo painted the
inlay picture titled “Sempre e ovunque”.

Pandora 2011

The
instrumental opener “Il re degli scemi” (The king of fools) is a solo
performance by Claudio Colombo who composed the piece and played
keyboards and percussion. According to an interview with the band it was
inspired by a short story that his wife wrote after a dream. It tells
of a powerful king who could impress his people with magic but who
didn’t know what’s real love. This track reminds me of the soundtracks
of some films of a genre called Sword-and-sandal, Italian low budget imitations of Hollywood historical epics that were in fashion in the early sixties...

The
short instrumental “L’altare del sacrificio” (The altar of sacrifice)
and the following “L’incantesimo del Druido” (The spell of the Druid)
tell the story of a fantasy character, a Druid called Chad-Bat, who with
his rites and his magic helps a king and his army to defeat their
enemies... “There’s no one like me / No one is greater than me...”.
Well, when listening to this track try to imagine the busy wizard at
work...

“Discesa
attraverso lo Stige” (Descent through the Styx) and “Ade, sensazione di
paura” (Hades, feeling of fear) are two long, complex instrumental
tracks linked together that describe the story of a woman who crosses
the waters of the river Styx and enters the secret world of Hades.
Follow her and you will see fire and ice dancing together, lost souls
and demons dancing with Death in the wide hall of immensity...
Eventually, if you are lucky, you’ll find the way back!

“03.02.1974”
(February 2, 1974) is about another kind of magic. The lyrics evoke the
feelings and emotions provoked by a Genesis’ concert in the
seventies... “It wasn’t just music that evening / It wasn’t just a show
in that moment... It was a magic touch flying away... They weren’t just
songs... Then The Knife
broke in / Shouts, shivers, tears / It was the end for us... Even today I
think of you / I can still feel the emotion and I cry...”.

On
“La formula finale di Chad-Bat” (The final formula of Chad-Bat) the
busy Druid comes back to offer you his help. All in all there’s no one
like him to conjure a magical dream...

“Sempre
e ovunque” (Always and everywhere) is a long suite in eight parts that
concludes the album. It begins with a nice instrumental overture, full
of symphonic suggestions to stir your fantasy... “Here I am, my young
prince / I’m just back from the past... I’m back to give you all what I
gathered in all this time / I’m back to give you the keys of my coffer /
My young prince, here you are / That’s the key of your empire...”. The
coffer is full of dreams and emotions, the same dreams and emotions that
a father would like to pass on to his son. Opening the coffer you
shiver, understanding the real value of that treasure you could be
overwhelmed by emotion... “I have lived to give you my world / Here I
am, my young prince / Look at your empire / Look where the past comes
from, where the future begins... Take up in your hands all my emotions /
And keep them with you, always and everywhere...”. Now the son is the
keeper of his father’s dreams... Progressive rock will live on! Well, a
great finale for a very good album...

After the album was released Christian Dimasi left the band and now Pandora are a trio again but don’t worry, they won’t stop...

Pandora: Sempre e ovunque oltre il sogno (2011). Other opinions:

Paul Fowler: Sempre
E Ovunque Oltre Il Sogno does not disappoint and is if anything a more
adventurous and sophisticated piece of work than their debut... (read the complete reviewHERE).

Olav Martin Bjornsen: If you generally enjoy music branded as symphonic progressive rock,
Pandora is a band that you most likely should check out, especially if
your tastes are liberal to the extent that listening to a band that
blends the retro-oriented strains of the genre with elements of a more
modern origin, first and foremost in the shape of metal guitar riffs,
sounds like an interesting experience. A fine and well made album
overall, sporting some of the best quality drum work I have encountered
for some time as an additional bonus... (read the complete review HERE).

After
the release of “Waterline” Alex Carpani recruited some experienced
musicians to perform his music on stage and in 2010 released a sophomore
album titled “The Sanctuary” on Cypher Arts and Ma.Ra,Cash Records.
Here the line up features along with Alex Carpani (piano, Hammond
organ, Mellotron, Moog, pads, lead and back vocals) also Gigi Cavalli
Cocchi (drums, percussion), Ettore Salati (electric and acoustic
guitars, dulcimer) and Fabiano Spiga (bass). “The Sanctuary” is a
conceptual work built up on the idea of an imaginary, invisible shield
protecting a man from the stress of the real life and the beautiful,
surreal art work by Paul Whitehead gives this idea a shape. The overall
sound draws unashamedly on the prog masters of the seventies, especially
Genesis and Emerson Lake & Palmer, but the result is not too
derivative and every track of the album seems almost timeless, suspended
between past and present as in a dream.

The
instrumental opener “Burning Braziers” sets the atmosphere. It starts
softly, the mood is dreamy but you have to walk cautiously on your way
to your sacred shelter. Then the rhythm rises, so hurry up! The dark
shadows of the real life are following you...

“Spirit
Of Decadence” recalls the music of Genesis. Crumbs of life emerge from a
glorious past while as a bold archaeologist you look for the
reminiscences of a powerful king and of his court, lost in time...
“Opulence and well being, holiness and favour / Warriors on the path and
guards protect the treasure...”.

“The
Dance Of The Sacred Elves” is a lively instrumental track that recalls
ELP. There’s a turntable hidden somewhere, echoes from the past come
back from an old vinyl and magical creatures start to dance. If you pay
attention you can even hear the needle of the turntable scraping the
record...

“Entering
The Sanctuary” begins with a solemn organ passage. You are now entering
in a cathedral with walls and roof of glass, your personal sanctuary
where you can listen to vintage sounds from an enormous turntable which
lies in the place of the altar. Once you have found the way rush in and
close the door behind you! “Inside this sanctuary I repent all my life
sins / Drunk with harmony, enclosed in a cage where I’m safe and free...
Deaf, I can hear / Dumb, I can speak...”.

The
instrumental “Knights And Clergymen” and the following “Templars Dream”
evoke dreamy rides on the wings of time while the vintage sounds
conjure images floating through the waves of a sea of light...

“Memories
Of A Wedding” begins with a romantic piano solo passage, then electric
guitar riffs break in and the rhythm rises. You have to fight hard
against the interferences of the outside world... “Now the elves are
scurrying away, the pageant comes to an end / A wide frame grows on the
wall, the scene appears like a dream... Now and then alien forces break
that dream and desire / Folding hearts and resistance...”.

On
the hypnotic instrumental “Master Of Ceremonies” the battle rages on
and dreamy passages alternates with more aggressive, disquieting parts. A
short flamenco guitar pattern leads to the following track, “Moonlight
Through The Ruins”. An acoustic guitar arpeggio and soaring vocals seem
to evoke ancient spirits wondering under the moon, through the ruins of
your broken dreams... “I can make out the stones and vaults... Now the
ruins are loving arms to embrace and... I can make out the people’s
smile / No roof on my head, the stars...”.

It’s
time to come back to reality but the healing effects of the time passed
in harmony and peace remain. The amazing instrumental track “Leaving
The Sanctuary” drives you in the real world with a new awareness and a
feeling of self confidence concluding an excellent album...

Alex Carpani: The Sanctuary (2010). Other opinions:

Olav Martin Bjørnsen: The
Sanctuary is a good example of an album that should have a strong
appeal among fans of 70's progressive rock of the symphonic variety. In
sound and expression those familiar with the giants of the genre will
find many recognizable details, while the overall sound and arrangements
also incorporate elements of a more contemporary nature... (read the complete review HERE).

Monday, 17 December 2012

Filoritmia are an Italian prog band
from Milan that have been active since 1993. The current line-up
features Roberto Riccardi (guitars), Matteo Scarparo (bass), Angelo
D’Ariano (keyboards), Antonio Mazzucchelli (drums) and Giorgio Mele
(vocals). “Passaggi” (Passages) is their second full length
album, after the excellent eponymous debut work released in 2000.
Filoritmia’s music is complex and features a wide range of sources
of inspiration (from classic prog bands like PFM to hard rock and
jazz) but the band managed to shape a fresh and original sound. All
the tracks are in some way challenging and need more than one
listening to be fully appreciated but in my opinion at length I’m
sure you will enjoy the experience.

The
album opens with a sudden burst of energy. “Colla e gesso” (Glue and
chalk) is a complex “hard rocking” track full of whipping rhythms that
invites you to make up your mind, to choose what’s right, to look for
you own way of life and to follow your dreams... “I’ve got the fantasy /
I believe in what’s fair / I can saw storms with the hardness of the
thunder / And the skilfulness of a blind acrobat / Who laughs smelling
the smile of astonished children / I choose because to stand still is
like dying...”.

“Senza
sale” (Without salt) is a long track in four parts that tries to
describe in music and words a troubled relationship between a man and a
woman. It starts softly in a sweet, romantic mood, then come
misunderstandings, incomprehension and rising tensions until the final
split-up...

“Non
è festa” (This is not Celebration) is a tribute to PFM. Instead of
playing just a cover of a song of the Italianprog masters, Filoritmia
tried to elaborate a new, personal track starting from the melodic lines
and rhythms of PFM’s evergreen “E’ festa” (also known as “Celebration”
in the English version). The result is great!

“L’uomo
che torna” (The man who comes back) is another sinuous track about a
troubled relationship between a man and a woman. Sometimes we choose the
wrong moments to express our feelings and words turn around without
reach their goal, what’s right for one person could be wrong for another
and vice versa, so all we can do is to try one more time and come back
to find the light again.

“Godo”
(I’m enjoying myself) is like a long shower of energy. Electric guitar
riffs and fiery bass lines drive the rhythm while suggestive vocals
invite you to take your time and to enjoy life overcoming bad dreams.

“Il sogno del
fotografo” (The photographer’s dream) starts with intricate rhythm
patterns, then comes a dreamy interlude that melts into a solemn
marching beat... The song is about the artist’s dream to capture reality
and to shape it through his skilfulness. But the artist has to live in a
dream to be creative and to express his talent... “I’m the god of light
/ I’m the alchemist of the picture / You will live forever on this
photo paper / I’m the master of your eternal youth / This is the
dream...”.

“Questo”
(This) is hard and sharp, it tries to depict a sudden breakthrough from
everyday life, an escape from reality on the wings of imagination...
“You know, it’s not easy to live without fairy tales...”.

The
final long, complex “Manifesto” is about mass media and consumerism...
The smiles of anchormen are like the teeth of wild animals ready to bite
you while radios kill any fantasy. What can we do? Change the radio
before it changes you and play your own music to resist...

This
is one of my favourite albums of 2009. Check it out, you can listen to
the whole album from the official website, legally download it and then,
if you like it, you can buy the “hard copy” in a beautiful fivefold
digipack. The art cover features eight pictures, one for each track...
Click HERE

Paul Fowler: What
I can say is I'm very impressed with this Milanese five piece; enough
to consider tracking down a copy of their debut. Strong vocals sung in
Italian are complimented by very competent musicianship from all players
involved and mature songwriting. From the powerful opening track, Colla
e Gesso it would appear we're in for a heavy rock, seventies style
album with its powerful guitar riffing, pleasing Hammond organ and solid
rhythm section. It doesn't take long however to realise that Filoritmia
have more up their sleeves as they move through varying themes while
maintaining the overall power of the song... (read the complete review HERE).

Raffaella Benvenuto-Berry: A surprisingly mature, multi-faceted album, “Passaggi” will equally
appeal to lovers of classic heavy progressive rock in the Deep
Purple/Uriah Heep/Atomic Rooster mould, and to the ever-increasing
contingent of Italian prog fans. Successfully reconciling vintage sounds
with more contemporary sensibilities, Filoritmia would deserve a lot
more exposure outside their native Italy – provided they do not keep us
waiting another nine years for their next album... (read the complete review HERE).
Alex Torres: I would say that Passaggi is guitar driven – at times it sounds
like a straight rock record – but just when you think that it is
descending into banality, out come the keyboards, the Hammond, the
piano; out comes a divine sung melody; out come the structural changes
that keep you hooked and keep you tuning back in again. It's an
appealing sound, without ever really taking off in a major way... (read the complete review HERE).